Analysis Of The Lord Of The Rings.

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Any stories can influence people emotionally, but previously in a while, a story can call a person to leave for it. The Lord of the Rings is and an attractive story with a powerful use of setting and incredible characters that engages readers and can move them to expertise of life more ingenious. As a child, J.R.R. Tolkien lived in Africa until his father passed away. Later his mother moved them to England. Mrs. Tolkien convinced her children to learned literature and languages. It was due somewhat to his mother’s character that Tolkien became who he was: an author and a scholar. Tolkien had a unique interest in 'rare' languages, even to the point of creating his own. He called it High-Elven and often in his stories he used the language. Tolkien also discovered an entire world called Middle Earth where The Lord of the Rings takes place. Because he had created this world it had to bow to his will and laws. He was an accomplished translator and this greatly helped his ability to represent and create in the reader’s mind Middle Earth, a place that no person has ever been.

Charters describes the setting as 'the place and time of the story.' Also according to Charters, 'When the writer determines the narrative in a dynamic setting, the reader is moved along step by step toward recognition of the fiction' (Charters 1008). Tolkien’s setting provides the reader with a sense of goodness or hate. Unlike an environment that is removed from the work, Tolkien’s setting sometimes is the story. Probably the setting could even tell the story if there were no characters. For example, in the house of Elrond of the elves, Frodo's expertise is defined by the setting. 'He (Frodo) found his friends sitting in a balcony on the side of the house looking east. Shadows had fallen in the canyon below, but there was still a light on the faces of the mountains far above. The air was extremally warm. The sound of flowing and falling water was loud, and the evening was filled with a heavy scent of trees and flowers, as if summer still stayed in Elrond’s gardens (220). This illustrates a peaceful place that is not quite a reality. The rest of the world is shifting into winter, but Elrond’s gardens haven’t realized that yet. Following is another example of how Tolkien uses background to create a picture that could not be obtained by just describing the scenery.

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Tolkien brings a place to spirit with words. We can see this when the Society winds up going through the Works of Moria. The Organization spent that night in the great huge hall, huddled close together in a corner to escape the wind: there seemed to be a reserved inflow of chill air through the eastern entrance. All about them as they slept hung the darkness, hollow and tremendous, and they were worried by the loneliness and hugeness of the dolven halls and endlessly branching stairs and corridors. The wildest imaginings that dark fiction had ever suggested to the hobbits fell entirely short of the actual fear and curiosity of Moria (307). This classification is one of trepidation and fear, but like the adventure at Elrond’s house, it is loaded with word portrayals. It informs the reader that this place is terrible and that some mischief is afoot. Of course, Tolkien suffered critique as all writers do. For example, Burton Raffel takes the opinion that 'his [Tolkien's] stories often fail to create ‘sense impressions’ required to make writing ‘more deeply felt and more deeply formed.' Raffel also claimed that 'Tolkien’s character classifications are frequently somewhat high-strung..... and so on.' (20). However, I support that Tolkien’s extraordinary talent to sketch a picture with messages takes the reader within a place they’ve never been and still controls to retain them following the story. The casts that Tolkien artfully constructed, significance the setting and carry them further to life. This is a characteristic of a great setting. Charters demonstrates that 'setting must also have an exciting use. It must be revealed, or at least held, to affect personality or plot' (Charters 1008).

All through The Lord of the Rings, the setting is forcing emotions onto the frames (e.g. anxiety, fear, peacefulness). Charters represent characters in literature as 'the people who make something happen or produce an effect,' and reveals that the 'characters must come alive' (Charters 1006-1007). Tolkien suffered criticism on his characters by Raffel as well. Raffel considers that there is 'too little significant truth about human existence and our lives in Tolkien’s figures.' Kathryn Crabbe resembles to differ with this statement. In her efforts to define the characters as valiant she also tells us they have some very smart human characters. Crabbe says that Frodo is 'neither more powerful than most men neither courageous than most...He is selfless in his passion for his partners.' If there is not enough 'meaningful fact about human presence' in Tolkien’s book, then maybe it is because he represents a picture of common people at their best.

The stars in The Lord of the Rings do not surrender to evil. They do not inadvertently get trapped creating real. They are selfless. Isn’t this accurately humanity at its best?. Earth is a place where the spirituality of a person is firmly connected to the presence of the person. Tolkien’s story casts are not minor people. Each holds a position and role in the world as well, something to address them heroic and more comprehensive than life-right underneath to Sam whose intention it would appear is to guard and defend his 'master'. This is apparent throughout the books but particularly at the end of The Fellowship of the Ring while Sam, now realizing exactly what might lie before, insists on working with Frodo (397). The characters explain that not just anyone can achieve this journey. It requires a special person for a specific job. For example, there is a purpose that Tom Bombadil cannot get the Ring even though he is inaccessible to its strength (259). Fate has picked Frodo. In so taking Tolkien builds a story that even the common person can associate with. It drives people to see the opportunities of morality amongst the commoners and recovers our faith in the great ones. Essentially anyone can find at least one model among the fellowship. One of the elements that effect The Lord of the Rings so compelling is the way the environment and characters work unitedly to create the terminal effect. The actors make the surroundings even more impressive. As the surface background influences, each role the reader notices how the fight becomes physical. We are led to understand that the characters are intimately connected to the earth. The diversity of the frame and casts solely drives us to understand the uniqueness of each place. (Done)

Where a group of grottoes might give us one image, listening to Gimli explain the majesty of his cave expertise helps us to recognize the diversity of the group and to see it within a cave dweller's eyes. 'These are not holes,' said Gimli. 'This is the famous realm and capital of the Dwarrowdelf. And of ancient, it was not darksome, but full of brightness and glory, as is still identified in our songs'(307). The Lord of the Rings is a story about the struggle of ethic versus evil. The setting supports the story that represents the hardships the characters suffer. The characters go over the exercises and share their awareness of anxiety and triumph with us. The two work together to deliver an excellent description of external and internal strifes that yield a contrarily impossible effect.

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